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MAKING READY FOR THE BUTTERFLY PLAY. 



MARCHING PLAYS 



DESIGNED FOR LITTLE CHILDREN AT HOME 

With Suggestions to Mothers 
for their further use in connection with 
Stories, Pictures, and Drawing Lessons 



/By 

GREY BURLESON 



Music by 
FRANK E. SAVILLE and KATE L. BROWN 



Over a Hundred Helpful Pictures, Vignettes, etc., from Drawings by 
L. J. BR1DGMAN 



■ 



A 6 t* " 

BOSTON 



«1« 

ALPHA PUBLISHING COMPANY 

1896 



,3*4 



Copyright, 1896, 

BY 

Alpha Publishing Company. 



All rights reserved. 



The Pinkham Press, 
289 Congress Street, Boston . 



TO 
ALL LITTLE CHILDREN 

AND 

THEI R MOTHER S 

AND 

THEIR TEACHERS 



AUTHOR'S NOTE. 

THE author offers these Marching Plays to mothers as a pleasant means of both 
playing and talking with their little children. The Plays are based on the 
happy fact that the child during its first years would like to have its mother as 
its playfellow and companion, and naturally chooses her in preference to all others ; 
and on that other fact that the young child's favorite diversion is found in well-known 
little action-plays and make-believes. The capacity for "taking part" develops at a 
surprisingly early age. All through babyhood the interest continues unabated in the 
doings of the five little toes that become " five little pigs," in the horseback ride on 
the knee, " trot, trot, to Boston to buy a loaf of bread," in pat-a-caking the perennial 
little cake and tossing it into the oven. Where is the mother who does not rely upon 
these immortal little plays to amuse her baby ? 

But while in the Marching Plays the primary interest appeals to the playing, im- 
agining, make-believe faculty, they are designed also to strongly interest the child in 
animals, their habits and feelings ; for when once little children are convinced that 
animals have many feelings in common with themselves, there will spring up a sense 
of kinship which will hold them back from treating dumb creatures unkindly. The 
interest in a few animals thus awakened may easily be broadened by the mother's talks 
into a general interest in natural history, and also into a very decided taste for nature- 
studies. 

The magazines and photograph dealers and art stores afford excellent pictures, 
in addition to those given with the Plays, to illustrate the life of the animals, and it 
is believed that mothers will enjoy making a collection of such pictures for 
each Play, also collections of good stories about the animals, and descriptions of them. 
" Famous Pets," by Eleanor Lewis, is a good reference-book for mothers, in connection 
with the Plays, being a nearly complete guide to the pets celebrated in history and 
literature. It contains many pictures and stories calculated to interest children, and to 
serve as subjects for entertaining folks. The fact that the wise and noble and great of 
all ages have considered animals worthy of their affection and companionship will not 
be without its good influence upon the child-mind. 

The larger pictures of the collection made might very advantageously be framed 
simply and hung low on the walls, in easy range of the children's eyes ; the smaller ones 
kept loose for the children to take in their hands. A little standing blackboard on 
which the child can be encouraged to draw the animals will be of service in training 
the eye and the hand, and afford much entertaining occupation. In going from 



AUTHOR'S NOTE. 



" Dobbin-Colt " to a " A Flock of Sheep," the mother should put away all the horse 
pictures and horse stories, and have about only the sheep stories and sheep pictures ; 
and so with all the Plays. 

A Play should be played until the child becomes familiar with it and can take 
its part with ease. The mother may sing her verses to the music, or she may simply 
recite them. The spirit of playing and " joining in," will soon impel the children to 
sing or recite theirs also. The mother should at first sing or recite the children's 
parts with them, just as she will show them and train them how to " march " aright, 
and to make the gestures gracefully. 

Kindergartners and Primary teachers who may wish to vary their usual exercises 
with games more freely active will find these Marching Plays very pleasing for the 
purpose, and very popular with the children. 

Grey Burleson. 



LIST OF MARCHING PLAYS. 



I. 
DOBBIN-COLT. 

II. 
A FLOCK OF SHEEP. 

III. 
THE LIONS. 

IV. 
THE HAPPY HEN. 

V. 
THE COUNTRY CATS. 

VI. 
THE BIG NIGHT BIRDS. 

VII. 
THE HOUSE MOUSE. 



LIST OF MARCHING PLAYS. 

VIII. 
THE WILD HARE. 

IX. 

THE SHEPHERD DOG. 

X. 
THE ROBINS. 

XI. 
THE BUTTERFLIES. 

XII. 
THE GOING OF THE SWALLOWS. 



MARCHING PLAYS. 




Dobbin-Colt. 



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SUGGESTIONS FOR PLAYING "DOBBIN-COLT." 

THE pictures of the Play show in detail the movements of the mother, teacher or 
leader, as well as those of several children taking part. If there is more than one 
little Dobhin, the children should be trained to make all gestures, all movements 
in perfect time. The insistence upon this will not spoil their enjoyment ; on the con- 
trary, the sense of doing all in order and in concert gives a child pleasure ; by this 
means too, during the merriest playing the child's mind becomes habituated to direction 
and to obedience. 

In connection with the first verse, it will add to the child's comprehension of the 
Play if there is a previous talk about the food of the horse. Many a town child has 
never seen a horse out of harness roaming loose in the pasture, and does not know that 
some horses feed on grass eating it direct from the ground in summer, and that all eat 
hay in winter ; much less that hay is dried grass. Certainly many town children know 
nothing of the fascinating scenes of hay-making. 

The fact that like a little child a little colt likes to stay close beside its mother, 
and again like a child likes to run off and play, and then, like a child, return to its 
mother, will lead children to see that the little creature has some of the same feelings 
that they have themselves ; mother and child, as they look at the pictures, may talk 
about this before the Play. 

In the third verse, the gradual rising on tiptoe and raising the hands higher and 
higher to show stages of growth is a pretty movement to practice, also pretty to see 
when made in perfect time. This early training to move in unison is not without its 
importance in after life, as when the cooperation of individuals becomes needful in 
various undertakings. 

To give the outward sign of obedience, in the fourth verse, is also valuable to the 
child. A pretty movement when there is but one Dobbin, is for the child to clasp its 
hands and the mother to lead him by the bridle thus formed, as a horse is led. 

To render the fifth verse still more interesting, take the children into a black- 
smith's shop to see the shoeing of a horse. Take care to explain that the substance of 
the hoof is such that the horse feels no pain when the shoe is nailed to its hoof. 

For the sixth verse, have books on a table that in passing each child may take one, 
as a " load," bearing it merrily along in the gallop or trot. 

If now and then, in the spirit of play, a sudden neigh or whinny startles your ear, 
or a horse unexpectedly refuses to be " caught " and canters away, or even the whole 
band throw up their heads and heels and gallop off in a mad frolic, don't frown, or 
forbid, but gently conclude that a few independent studies of the horse may have been 
going on. 

Fine pictures of horses can be found among photographs of paintings by Landseer 
and Rosa Bonheur. The famous horseback picture by Velasquez of the little Spanish 
boy-prince, Charles Balthazar, son of Philip IV., is a favorite with children. Large 
copies, suitable for framing, can be had at the photograph dealers. 



i8 



<^D0BB1N-C0LT.^> 



DOBBIN is a baby colt! 
By his mother's side he stays ; 
Through the grassy pasture land 
Slowly close beside her strays. 




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Dobbin is a playful colt ! 

Prancing off on twinkling feet, 
Circling back he gaily comes ; 

Hear his flying small hoofs beat! ^ 






Child next teacher 
skips down front of 
class, up behind and 
around teacher back 
to-starting point — 
Otheri follow in order 



Dobbin is a handsome colt ! 
( ;X bee him grow, and grow, and grow! 
f And a master's voice and hand 

Dobbin-colt has learned to know. 



DOBBIN-COL T. 



*9 



Dobbin is a model colt! 

See him bend his arching head, 
Take the guiding bridle on, 

From the grassy field be led. 



Children bend, 
then follow teacher 
around room. 





Dobbin is a wond'ring colt ! 

But, obedient to do 
What he's bid, he lifts his foot 

For the shining iron shoe. 




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^JL Dobbin is a well-trained colt ! 

With his load he speeds away — 
Every creature trained and strong 
Likes to work as well as play. 



20 



DOBBIN COLT. 



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Words by Grey Burleson, 
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Music by Kate L. Brown. 



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SUGGESTIONS FOR PLAYING " A FLOCK OF SHEEP." 

NOT all country children have seen sheep, and few town children, though the 
latter may have spent their vacations in farming regions. Sheep are not kept 
on every farm, like horses and cows. So it is important to get reliable pictures 
of sheep before trying the Play. Those with the Play are good but small. Among 
magazine pictures easy to find, those by Monks are very true to American sheep. The 
photograph of Rosa Bonheur's " Changing Pasture " is fine for framing. 

Children should be told in the general talk before playing, that sheep go at large in 
pastures and feed on grass, and like the horse eat hay in winter. Show them pictures 
of lambs, the babies of sheep. Interest them in realizing that their own winter gowns 
and coats are made from the warm wool of sheep. Show pictures of sheep-shearing. 
Secure, when you can, a lock from a fleece of wool ; the wool of merino sheep is 
beautiful to look at. 

The Play calls for several children — a " flock " of the child's playmates will gladly 
come in upon invitation — and particularly amuses little ones, because it places the 
mother, or teacher in several funny positions ; it is always delightful to a child to see 
a grown person really at " play." Also they like to wear the little sheep-bells. The 
bells are more easily shaken into tinkling if worn upon the wrist. Some educators ob- 
ject to any accessories, and urge that the child's imagination is better exercised by sing- 
ing the refrain " Hear the sheep-bells tinkle ! " But it is well to consider instances of 
the natural action of the child-mind. In spontaneous child-play, as in " playing house," 
the little one does not seat itself on the open floor, but creeps under the table where it 
has roof and walls, or with shawl and chairs builds itself a tent. 

The mother, as " leader," or head of the flock, wears a large bell. In general talk 
the children are told that all animals that go in flocks and herds have a " leader " 
whom they recognize, follow and obey. Like people, the sheep provide for their safety 
by submitting to a governor. This gives the child the feeling that " government " is 
a general and natural and good thing, and so its mind takes an easy step into the 
established order of things. 

In the third verse the mother steps up on a stool or hassock to look about for danger ; 
this amuses the children. In some of her talks the mother says, " Everybody enjoys 
the thought of being a leader. Bat a leader must have his thoughts all the time on 
those he leads. He must watch .or danger and warn them, and take them out of its 
reach, or in some other way protect them and save them." 

The final scamper, the mother's jump over the imaginary wall, and the general 
shaking of the bells combine to further make the exercise a genuine " play." Yet a les- 
son in courteousness may be drawn from the " crowding," concerning the kindly re- 
straint of little elbows and hands. 

Now and then, as a special diversion, and at a given signal, at the end of the third 
verse the children may be permitted a chorus and a confusion of " ba-a's," but never 
unnaturally loud or noisy, or approaching burlesque. 



24 



A Flockt^of Sheep. 



DOWN the hilly pasture, 
Over ledge and rock, 
By the winding sheep-path 
Come the woolly flock. 
Tinkle, tinkle, tinkle — 
Hear the sheep-bells tinkle ! 




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In the vale they gather 

At the silver rill ; 
Back they nibbling clamber 
Up the sunny hill. 

Tinkle, tinkle, tmkle — 
Slow the sheep-bells tinkle 



All pause in semicircle, bend heads. drink from 
hollowed palms , Chen follow teacher bacK 
bending and moving 1 heads fromside 
10 side as if cropping grass 



A FLOCK OF SHEEP. 



Hist ! a panic-signal ! 

Crowding close they fly 
With their fleecy leader 
Down the hillside high. 
Tinkle-tinkle-tinkle — 
Fast the sheep-bells tinkle ! 




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O, the silly baa-sheep ! 

See them jump the wall — 
Over goes the leader, 

Over go they all ! 

Tinkle ! tinkle-tinkle ! 







How the sheep-bells tinkle 



In -marching 
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the same in concert. 



26 



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A FLOCK OF SHEEP. 

Words by Grey Burleson. Music by Kate L. Brown. 



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baa - sheep! See them jump the wall — 



2. In the vale they gath 

3. Hist ! a pan - ic - sig 

4. O, the sil - ly 



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Tinkle, tinkle, tink ! 
Tinkle, tinkle, tink! 
Tinkle, tinkle, tink ! 



Tinkle, tinkle, tinkle, Tinkle, tinkle, tink ! Hearthe sheep-bells tinkle ! 
Tinkle, tinkle, tinkle, Tinkle, tinkle, tink ! Slow the sheep-bells tinkle ! 
Tinkle, tinkle, tinkle, Tinkle, tinkle, tink ! Fast the sheep-bells tinkle ! 
Tinkle, tinkle, tinkle, Tinkle, tinkle, tink! How the sheep-bells tinkle ! 

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SUGGESTIONS FOR PLAYING " THE LIONS." 

TO set the lion vividly before the eyes of the children, in all the majesty of his 
form, but depicting his habit of solitude instead of his habit of slaughter, there 
is no picture better than the small etching by Herbert Dicksee which shows a 
lion drinking at a river bank. To show, also without slaughter, something of the dread 
which lions inspire in all things living, get the admirable photograph of the painting 
of a family of lions, by William Strutt ; this photograph is known as " Watching for 
Stragglers." 

The Play is largly designed to serve the mother as a Natural History lesson, a 
lesson which also shall make one or two valuable moral impressions. It affords a good 
means of giving children an idea of the striking differences that exist among animals, 
if chosen to follow " A Flock of Sheep," and vividly impresses them with the extreme 
that lies between the most terrible of the wild animals, and the gentlest of the domestic 
animals. 

Each verse and each movement is intended to call attention to some characteristic 
of the lion, in contrast to traits of the sheep. The lion's preference for darkness, his 
active life in the night, his liking for solitude, his powerful and terrifying voice, 
his terrible strength, the awful dread of him felt by the other animals, his untiring 
pursuit when once on the chase, all are strikingly unlike the traits of sheep — their 
preference for high, open, sunny pastures, their fondness for feeding and living 
together in flocks, their trust in their leader, their gentle, timid, appealing voices, and 
their peaceful look and manner. 

The mother will talk of these differences, telling the children that probably 
they never will see lions in their natural free state, and that a Lion Play is given 
that they may easily imagine them and perceive how unlike they are to all useful 
animals, and why it is that they are hunted and destroyed. She will tell them that 
all the useful animals sleep at night, that most of the useful animals live on grass 
and grain and roots, and that they enjoy the society of their kind, and readily accept 
masters, and like to be sheltered and protected ; also that the kingly lion is incapable 
of becoming useful in any form. 

She will naturally draw from the lion's character a little lesson on the evil that 
power unaccompanied by kindness generally becomes ; and she will impress on her 
little listeners the fact that power which is so exerted as to excite only fear and dread 
will be destroyed sooner or later ; and that great strength of any kind when not 
used for kind and useful purposes is of no value. Even a grand appearance which 
inspires terror, is not admired. The majestic-appearing King of Beasts when at 
large is universally destroyed as quickly as possible. 

But the knowledge of the ugly evil of the life of the lion is not allowed to remain 
in the child's mind with depressing effects ; the impressions of the animal's cruelty pass 
away, as they should, during the action of the Play which at the close takes a very 
merry and amusing form in the chase and laughing capture of the mother or teacher. 



The Lions 






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{Teacher sings.} 




THE lions shun the sun ! 
All day, asleep, 
Deep in the thicket's shade 
The lions keep. 



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{Teacher sings.) 

'Tis in the dark midnights 

The lions wake ; 
All silent and alone 

Their way they take. 











{TeacJier siftgs.) ^""- — 

Awake, at night they seek 
The river-shore ; 

{Children join in.) 

And all the desert vast 
Shakes with their roar. 



THE LIONS. 



3i 




The lions, they are kings ! 

They make the law ! 
Yea, every creature fears 

The lion's paw ! 







{Teacher sings.) 

The lions never tire ! 
With tossing mane 
They bound along 

The moonlit plain. 



{Children sing:) 

They never, never tire 
They speed away 

And follow, follow on, 
And take the prey ! 




3 2 



THE LIONS. 



Words by Grey Burleson. 
1st verse softly. 



Music by F. E. Savili.e. 




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1 



1. The li - ons shun the sun! 

2. A - wake, at night they seek 

3. The li - ons nev - er tire! 



All day, a- sleep, Deep in the thiok-et's 

The riv - er- shore; And all the des - ert 

With toss - ing mane They bound a - way a - 




shade The li - ons keep 

vast Shakes with their roar ! 

long The moon - lit plain. 



'Tis in the dark mid-nights The li - ons 
The li - ons, they are kings! They make the 
They nev - er, nev - er tire! They speed a - 




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And fol - low, fol - low on, And take the 



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Happy 




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Hen. 



SUGGESTIONS FOR PLAYING "THE HAPPY HEN." 

THIS Play will be specially liked by the mother who has but " one chicken " — 
one child of the true nursery age. However, its phrasing can be changed, easily, 
to admit a whole brood into the marching. " Chick" readily becomes "chicks," 
and " chicken " " chickens," — all required changes will no doubt suggest ' themselves 
to the mother's pencil. 

Also she may make other simple alterations that shall cause the watchfulness and 
tender care of the mother-hen to be still more distinctly felt by the child, since "I" 
and "my" maybe substituted for "she" and "her" at pleasure. Thus, at the oufc- 
set, instead of "Now here comes a Hen," the opening line may be sung, " O, I am a 
Hen." Doubtless with many little ones the make-believe, the personification, would be 
more certain and complete. 

For this purpose lines in the second verse may read, "My chicken and I," 
" I scan heaven and earth," " ' All's well,' says this hen." Additional changed read- 
ings may be worded thus: "See! quickly I run ; " "I scratch up the ground ;" "My 
chicken's soft chirp;" "We sip from the dew;" "We lift up our heads ;" 

" Now homeward I go, 

With my chick close behind, 
A glad mother -hen 

With a most happy mind." 

The Play, when used, will be seen to inspire graceful gestures and striking move- 
ments, but altogether easy and natural and full of the play spirit. Little children 
will particularly enjoy the chances for "peeping." Those who have never seen baby 
chickens will have no difficulty in imagining the plump, caressable little creatures from 
looking at the pictures which illustrate the Play. Good farmyard pictures, of a large 
size, are to be readily found in magazines, notably in the German periodicals. Much of 
the fun of the marching, however, will depend on the mother — on the naturalness 
with which she cranes her head, darts about, and sings her craw-craws. There may be 
an improvised chorus between the verses, of crowings, duckings, and peepings. 

Indeed, it is well to interest the children in the fact that hens seem to come near 
jjossessing a language, and talk with one another, and that this may be studied by any- 
one who has a chance to observe a hen with her chickens. The hen has several distinct 
calls : " Come here to me, quick ! " "A hawk ! danger ! hide ! " " Going to rain ! 
come in ! " " Come ! come ! come ! here's something good to eat! " The chickens un- 
derstand her perfectly. 

Also call the child's attention to the facts that a hen seems as loving, and the 
chickens as loving, as a human mother and her children ; that when allowed to go 
with her chickens she provides food for them as carefully as the human mother gets 
meals for her family ; also that hens are so easily impressed by kind tones and gentle 
handling that, anxious mothers though they are, nervous and easily alarmed, they will 
permit their chickens to be picked up and petted, without a protest. 



3" 



The Happy Hen. 



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HERE comes a Hen 
j With a most happy mind, 



Her one little chick 

Close a-walking behind. 

The morning is warm 
And the sun is on high, 

No hawk to be seen 

In the blue summer sky. 




Slow circuit of room, mother singing', 
child now and chen uttering happy peeps. 




Her chicken and she 

Are out for a walk ; 
Craw, craw, kr-kr-craw" 

And " Peep, " goes the talk 
She scans heaven and earth, 

High a-craning her head ; 
"All's well ! " says the Hen, 

" My chick shall be fed." 




In 2^ circuit mother 

often pauses, anxiously 

craning her head about, 

scanning- sky for hawks. 

Peeps'' and "Craws" at 

pleasure. in the singing. 



THE HAPPY HEN. 



37 







3 1 ? circuit Is interspersed with running- steps 
and darts oF the head Child runs at all'cal Is" 
with outstretched arma.and chirps 



■^ 



Now quickly she runs, 

Darting here, darting there, 
For bugs in the gfrass 

Or a fly in the air; 
She calls to her chick 

As she scratches the ground, 
And the chicken's soft chirp 

Is the loveliest sound! 





They sip from the leaves 

The bright drops of the dew, 
And lift up their heads 

Ever thankfully too. 
Then homeward she goes, 

And her chick close behind, 
This dear Mother Hen 

With a most happy mind. 



In the 4 th circuit .side 
by side they sip from hands, upli'Ft- 
inp: heads at each swallow Finish 
circuit, child walking behind mother 



38 



THE HAPPY HEN. 



Words by Gkey Burleson. 



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= -f£: 



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Music by F. E. Saville. 
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1. O here comes a hen With a most hap - py mind, Her one lit - tie 

2. Her chick - en and she Are out for a walk ; And " Craw, craw, craw, 

3. Now quick - ly she runs, Darting here, dart - ing there, For bugs in the 

4. They sip from the leaves The bright drops of the dew, And lift up their 



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chick Close a - walk - ing be - hind. 

craw" And "Peep," goes the talk, 

grass, Or a fly in the air. 

heads, Ever thank - ful - ly too. 



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The morn - ing is warm, And the 

She scans heav'n and earth, High a - 

She calls to her chick As she 

Then home -ward she goes, And her 




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sun is on high, No hawk to be seen In the 

cran - ing her head ; " All's well," says the hen, " My 

scratch- es the ground, And the chick -en's soft chirp Is the 

chick close be - hind, This dear Moth-er Hen With a 



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blue sum - mer sky. 
chick shall be fed." 
love - li - est sound, 
most hap - py mind. 



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II 



Countr 




SUGGESTIONS FOR PLAYING " THE COUNTRY CATS." 

THE little ones who have taken part in the Lion Play will perhaps be surprised 
when told that the lion and the house-cat belong to the same family : that the 
dread lion is a cat as truly as little pussy by the fireside, and can purr ! 

Though children are acquainted with cats, the bright tabbies in Louis Wain's pic- 
tures and the exquisite pussies of Henrietta Ronner, will give them a new interest in 
the familiar animals, a new respect for them. These may be found in the magazines 
and the large foreign illustrated papers for the last five years, and there is at least one 
beautiful book entirely devoted to the lovely Ronner cats, published by the Century 
Company. 

The mother can make these pictures of handsome, well-kept cats serve a good 
purpose in her general talk before the Play is tried, showing the children the differ- 
ence between the cat protected, and the cat neglected as they all have seen it scudding 
in haste and fear along a street in town. She has the opportunity here to create in 
the tender mind of the child an indignation regarding various practices, — such as 
providing no sleeping place for the house cat, but turning it out of the door at night to 
find one for itself in the street or elsewhere, and leaving it to provide its own food and 
shelter during the summer absence of the family. She can, too, express her wonder — 
cause for wonder it truly is — that many town boys should consider a cat in the street 
as fair game for frightening, and for cruel treatment, while country boys ver}^ rarelj r 
treat a stray cat unkindly. She will point out that while many family cats are treated 
with all attentions and become beautiful creatures, the lives of ordinary town cats are 
full of hardships and many of them become, from mere lack of humane care, skulking, 
fighting, shabby outcasts, markedly afraid when they meet an urchin ; also that any 
ownerless cat seems doomed to persecution. 

She may tell them that it is for such reasons that the " country cat," by contrast, 
seems the happy type of cat — playful, gamboling, climbing, racing, the true natural 
cat who yet is tame and home-loving and companionable. She will do an act of jus- 
tice in teaching that the cat is not an ungrateful, treacherous creature, as is often said, 
but on the contrary fond of caresses, purring at the very sound of her name, and as af- 
fectionate and attached as the dog, and she should collect some of the many stories of 
the long journeys which cats, when given away, take to get back to their former homes. 

Train the little ones to "march," in this Play, with a soft, quick, easy step, noise- 
less but not stealthy, and without wriggling. 

The wise mother will also encourage any original play-impulse, and suggest also 
pretty additions to the Play. Sometimes, at the close, she will let the little ones curl 
themselves on rug or cushions as nearly like cats as possible, and " purr " as long as 
they like. They may take a fancy, too, to tumble and roll on the carpet, like the 
country cats in the fragrant catnip, and she may end the frolic, at last, with a soft 
clapping of her hands a and a merry "Scat! Scat!" sending them away laughing and 
happy. 



42 




-^Uss^ 




The Country Cats. 



/teapher may sing or 
| recite the verses, the 
j children joining in the re 
Ifrains of pit-a-pats and 
Vpurrs. The hand move- 
\ ments are made 
JVwhile. marching. 



w : 




E happy Country CatF, 
We think our lot the best 
Of all the beastie-folk, 
And pity all the rest. 

We've miles of grass just right 

For cushioned kitty-feet, 
All velvet-soft to suit 
A kitty scudding fleet. 
Pit-i-pat, pit-i-pat 7 



Rolling 

movement 

hands 

revolving; - ^jpigr " 

about 

each othg 






Climbingr movement, 
raising arms higher 
and higher alter- ^ 
nately. 

And barky trees, where cats 

Can climb, and sharpen claws, 
And frio-ht the foolish birds 

With harmless me-a-aws ! 
And leafy garden-beds 

Lie round us everywhere — 
'Tis naughty little cats 

That sx) and tumble there ! 



Pit-i-pat, pit-i-pat 



I 



THE COUNTRY CATS. 



43 



And, O, the country nights ! 

A cat can travel far 
And come and go all safe 

By light of moon and star. 
But best the dusky barn ! 

With mice, and mows of hay, 
Where any cat can climb 

And sleep the day away. 

Purr-purr-purr, ptcrr, pu,rr ! 




finders, the Hands held 
well forward. 




There, when the cows come up — 

O, listen, cats in town ! 
We hear in great milk-pails 

The milk go streaming down ! 
And there on winter nights, 

Deep in her haymow nest, 
The peaceful Country Cat 

Knows well her lot is best! 
Purr-purr-purr, purr, ptirr. 



At end, children in seats, head 
bent, arms folded, to- imitate 
cats vs""-^ curled up in / ^*~"? ^hay. 




44 



THE COUNTRY CATS. 



Words by Grey Burleson. 



Music by F. E. Saville. 




1. We hap - py Coun-try Cats, 

2. And bark - y trees where cats 

3. And O, the coun- try nights ! 

4. There, when the cows come up — 



We think our lot the 

Can climb and sharp- en 

A cat can trav - el 

O, list - en, cats in 



Of 
And 
And 
We 




all the beast- ie - folk, 
fright the fool - ish birds 
come and go all safe, 
hear in great milk-pails, 



-JO- • 

And pit - y all the rest. 

With harm- less me - a - aios ! 

By light of moon and star. 

The milk go stream-in g down ! 



We've miles of 

And leaf - y 

But best the dusk- y 
And there on win - ter 



grass just 
gar - den 




right 
beds 
barn ! 
nights 



For cushioned kit - ty 
Lie round us ev' - ry • 
With mice, and mows, of 



feet, 
where — 
hay, 



Deep in her hay- mow nest, 



f 

All vel - vet - soft to suit, to suit A 
'Tis naughty lit - tie cats that go, That 
Where a - ny cat can climb and sleep, And 
The peaceful Coun-try Cat knows well, Knows 




{Refrain, by -children.) 



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kit - ty scud-ding 

go and turn- ble 
sleep the day a - way. 
well her lot is the best ! 



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fleet, 
there ! 



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Piti-pat, piti-pat, pit - i - pat, pit - pat pit-i, pit-i- pat. 

Piti-pat, piti-pat, pit-i - pat, pit - pat, pit-i, pit-i-. pat. 
Purr,purr,purr,purr,purr,purr,purr,purr,purr,purr,purr,purr. 
Purr,purr,purr,purr,purr,purr,purr,purr,purr,purr,purr,purr. 



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The 



Big Niaht Birds. 




v. 



SUGGESTIONS FOR PLAYING "THE BIG NIGHT BIRDS." 

AS a rule, few children will be able to see live owls. They can, however, in many 
places, be taken to see stuffed owls in bird-stores and in Natural History Muse- 
ums. They also can see excellent pictures of owls in Grant's "Our Common 
Birds, and How to Know Them," in which the soft, fluffy featheriness peculiar to the 
owl is well shown, also the markings of the feathers. When practicable, procure a 
stuffed owl to stand on mantel or bracket, for the Play. The owl is an easy bird to 
draw on the little blackboards, also with crayons on paper. When an owl's feather 
can be had, encourage the children to try to draw it, with its markings. 

This Play is popular with children. It appeals strongly to the child's imagina- 
tion. With much of the same kind of pleasure with which it listens to fairy stories, 
the child realizes that there is a great bird that flies silently about in the nighttime 
a very different one from the small birds it is accustomed to see — the cheerful birds 
of the sunshine and the daytime, such as robins and sparrows. 

Also, the Play abounds with true play-opportunities. Children enjoy the tu-ivhit, 
tu-whoo refrains, and always sing them well, greatly amused at the effect. They like, 
also, to wear the disks and horns, especially if they are not allowed to ha-v them at 
any other time. A mother who has leisure may make disks of chicken feathei ; some- 
times the real owl-feathers may be had at taxidermists. She may twist the children's 
own locks into "horns;" a braided horn tied with a ribbon pleases any very lit- 
tle "owl." 

It adds to the pleasure of the Play to have papa or some other visitor present 
whom the mother addresses as she " points " to the owls while she sings. 

Sometimes the mother may darken the room and have a large lighted shaded lamp 
to serve as a "moon," to better create a night effect. 

Sometimes, for second verse, she can arrange to have the owls march in behind 
parted curtains, and stand between them as in a hollow tree, if the window has 
draperies. 

The third verse affords a good exercise for the practice of noiseless stepping and 
movement. The singing or reciting should be soft and low. 

In the fourth verse the mother may sometimes precede the little owls with their 
slow-waving arms, her own joyous soaring movements impressing on them the contrast 
between sunshiny, light-loving natures and gloomy ones. 

Sometimes, while she sings the last verse, the children may slowly circle about the 
room and then away to their hollow-tree nests between the curtains, instead of going 
to seats. This gives an amusing little tableau where there are two or three windows, 
and at each two or three children to peer out. 

The mother will do well to prepare a short natural history talk for the Play, each 
time taking a different member of the owl family. She will not find the time lost, 
even from a personal pleasure point-of-view, that she spends in libraries searching for 
interesting information for these talks with her children. 



4 8 



The Bie Night Birds. 



BEHOLD the round-eyed Owls ! 
The puffed-up feathery birds 
That cry out in the night 

And speak these two odd words : 

Tu-whit, tu-whoo! tu-whit, tu-whoo! 



Mother recites or, sin^s each verse;cVildren 
sing tu -wh/t refrain A pair of big disks to 
surround the eyes.adds much to the pleasure of 
che "owls'; easily made of common cnmped paper 
A pair of tufts', to stand up like thefeather"horns" 
of certain species, may also be worn. 




Children stand , arms pressed 
close to side, eyes closed, should 
crs drawn up, mother behind, 
•pointincj. 



Light scares these big-eyed birds ; 

They go and hide all day ; 
They sit in hollow trees; 

Disturbed, they hiss and say : 
Ttc-whit, tu-whoo ! tu-whit, tu-whoo ! 



THE BIG NIGHT BIRDS. 



49 



But out they fly at night ; 

They come round many a house ; 
All noiselessly they sail, 

A-watch for mole or mouse. 
Tu-whit, tu-whoo ! tu-whit, tu-whoo ! 



Children slowly circle room 
arms screeched out wide., 
heads inclining f orward ,- 
mother behind, pointing;. 




They never fly for joy, 

And soar about the sky ; 
They sail, and pounce, and sail — 

These Owls with their strange cry : 
Tu-whit, tu-whoo! hi-whit, tu-whoo! 




Children circle room a* 
before ; mother behind, 
tiptoe , joyous, with tos- 
sing, soaring-, wavering 
arm movements. 




^ 



5. 

Mother waves 
her arms backward repeated- 
ly . Children circle away to 
their seats, arms extended 
horizontally as before , repeating" 
teFrain until seated. 



6. 



Back to your hollow tree, 

You birds that have no song 

No child would like to be 
An Owl for very long. 

Tu-whit, tu-whoo! tu-whit, tu-whoo i 



5° 



THE BIG NIGHT BIRDS. 



Words by Grey Burleson. 


^ 





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Music by F. E. 


Savilli 




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1. Be ■ 

2. Light 

3. But 

4. They 

5. Back 


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hold 

scares 

out 

nev - 

to 

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the 

these 

they 

er 

your 


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round 

big - 

fly 
fly 

hoi - 

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- eyed 
eyed 
at 
fol- 
low 


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1 - — 1 

Owls ! The 
birds ; They 
night ; They 
joy, And 
tree, You 

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puffed - up 

go and 
come round 

soar a 
birds that 

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feath - 

hide 

many 

bout 

have 

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all 
a 
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W H - 

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birds 

day; 

house ; 

sky; 

song. 


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That 
They 
All 
They 

No 

1 


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cry 

sit 

noise 
sail 
child 


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out in 
in hoi 

-less - ly 
and pounce 

would like 


the 

low 

they 

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to 


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night 

trees ; 
sail, 
sail, 
be 

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i 

And speak these 
Dis - turbed, they 
A - watch for 
These Owls with 
An Owl for 

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two 

hiss 
mole 
their 

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odd words : 
and say : 
or mouse, 
strange cry : 
ry long. 

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Refrain. ( To be sung after each verse. ) 



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Tu - whit, tu-whoo ! tu - whit, tu-whoo ! tu - whit, tu-whoo ! tu - whit, tu-whoo ! 



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— Mouse Mouse 




SUGGESTIONS FOR PLAYING "THE HOUSE MOUSE." 

IN this Play long parts are given the child to sing. However, the children's verses 
are of a nature to catch hold upon both memory and fancy. It will prove that 

even the youngest of the " mice" can readily remember all the mouse choruses 
and will sing them " with expression," with smiling roguery. 

In the marching for the second verse the children should be encouraged to give 
with the greatest sense of free, smiling play, yet still in complete unison, the rush, the 
scamper, the scurry, the sudden stop, and the sudden perfect silence called for by the 
words. To secure this effective unison of movement some careful training and drill 
will be needful, but the practicing will prove one of the enjoyments of the Play. The 
gay chorus after the moment of silence is strikingly effective. 

The easy old-fashioned hippity-hop step, familiar to children everj'where, is ad- ; 
vised, for the sake of order, form, concerted, regulated movement. Some pretty dan- 
cing-step may be taught for the " dancing in a round " while singing the third chorus ; i 
then the circle breaking into pairs, the children may have a second round of hippity- 
hop — this is charming for the little ones when there is a piano so that the notes may 
be struck for the merry feet. The accompaniment for the entire Play may be played 
upon a guitar, banjo, violin, mandolin. The greatest liberty of varying is recom- 
mended to the mother. As example, the music for last line of first verse, " Of flee- 
ing elfin Feet" may be repeated without the words, on the mandolin or piano, with a 
light echo-like effect. In short no opportunity should be neglected to make an unex- 
pected change. Sometimes, as a particular pleasure and surprise, a tray of candies, 
and nuts and tiny cakes may be placed on a little table, and the children may sing the 
chorus of the last verse, merrily skipping by, each taking a bon-bon as they pass. 
Many new little features, for each and all of the Plays will occur, from time to time, to 
the mother's fancy. 

One intention of this Play is to root out and destroy the very common and very 
foolish fear of a mouse which often causes terror with children. Many of the consid- 
erations proper to adults need not be forced on the child-mind. In making a collection 
of pictures for this Play exclude those of mice in a trap, no matter how well drawn 
and true to life. Good pictures of mice are rare. Procure, if posssible, a photograph 
of the mice painted in fresco by Raphael in the Loggia of the Vatican. They are 
wonderfully real. 

If the actual mouse can be shown, call attention to the exquisite soft gray fur, 
the dainty, tiny, pink claws, the bright eyes, the pretty, graceful, slender head. Speak 
of its confiding disposition when tamed and petted. Tell the children of the tamed 
mice in Aldrich's " Story of a Bad Boy." Tell iEsop's fable of the mouse that liber- 
ated the netted lion. There are many stories of prison-mice that have become the pets 
and companions of solitary captives, and there are curious true stories of singing mice, 
and mice that learn music, and mice that have been seen to dance. 



54 



The House Mouse m 



{Mother, or teacher sings :) 



a child comes lightly about the 

SOMETIMES a child at night Ar 0om with hi PP ity.hop step 
Awakes from slumber sweet, 
And seems to hear the step 
Of fleeing elfin feet. 

{Child sings :) 

'Tis I, the merry Mouse, 
The little bright-eyed Mouse 
That dwells within the house 
Tis I ! 'tis I ! 'tis I ! 




lJ|F //ffl ts>/f 



{Mother sings :) 



A rush as of a troop ! 

A scamper in the walls ! 
A scurry in the floors ! 

Then perfect silence falls 



everal children come out and 
hippity-hop about swiftly andcjaily 



{Ckildren, pausing, sing :) 



'Tis we, the merry Mice! 
'Tis we, the frolic Mice 
All scudding in a trice ! 
'Tis we ! 'tis we ! 'tis we ! 




THE HOUSE MOUSE. 



55 




{Mother sings :") 




A merry sprite it is ! 

Yet children fear the Mouse, 
The Mouse that joys like them 

To dwell within the house ! 

{Children sing, joining hands, dancing in a round i) 

We do ! each merry Mouse, 
Rach little tricksy Mouse ; 
We like the cosey house, 
We do ! we do ! we do ! 



('""hildren hippity-hop ar.ound 
m pairs, joyously. 

Br A 




{Mother sings :) 



4 

C hildren hippity-hop about 
^ gently. 




And dainty is the Mouse ! 

What children like, it eats ! 
It chooses grains and fruits, 

And has a tooth for sweets. 

(Chi/dren sing, dancing in a round:') 

Then do not fear the Mouse, 
The dainty merry Mouse 
That shares your cosey house ; 
O, no ! no, no ! no, no ! 



56 



THE HOUSE MOUSE. 



Words by Grey Burleson. 



Music by F. E. Saville. 




9i 



1. Some-times a child at night, 

2. A rush as of a troop ! 

3. A mer - ry sprite it is ! 

4. And dain - ty is the mouse ! 



A - wakes from slum-ber sweet, And 
A scam - per in the walls ! A 

Yet chil - dren fear the mouse, The 

What chil - dren like, it eats ; It 



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seems to hear the step Of 

sour - ry iu the floors ! Then 

mouse that joys like them, To 

choos - es grains and fruits, And 



flee - ing 
per - feet 
dwell with 
has a 



el - fin feet. 

si - lence falls. 

in the house ! 

tooth for sweets. 

I 



'Tis 
'Tis 
We 
Then 




pi 



I, the mer - ry mouse, 

we, the mer - ry mice ! 

do ! each mer - ry mouse ; 

do not fear the mouse , 



The lit - tie bright - eyed mouse. That 

'Tis we, the frol - ic mice ! All 

Each lit - tie trick - sy mouse. We 

The dain-ty mer- ry mouse, That 






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dwells with-in the 
scud-ding in a 
like the co - sy 

shares your co - sy 



house ! 

trice ! 
house, 
house ! 



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'Tis 

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do! 



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SUGGESTIONS FOR PLAYING "THE WILD HARE." 

THE long ears of the hare are commonly spoken of as " rabbit ears," and though 
the truth is that rabbits have much smaller ears than hares, the two creatures 
differ so little to the common eye that rabbits are called hares, and hares are 
mistaken for rabbits. The hare is the stronger and swifter. Both creatures have the 
divided upper lip — George MacDonald calls them " three-lipped." His poem about 
rabbits, entitled " A Child's Make-Believe," which gives the thoughts of a little boy 
making believe himself a rabbit, will be good to read to children as it is true to the 
wild hare's life, excepting that the hare does not burrow. It can be found at the libra- 
ries in the bound volume of Wide Awake for 1883 (Dec. — June), for which magazine 
it was written. Among the most faithful of the smaller pictures of the hare, is the one 
in Chambers' Encyclopedia ; and the one drawn by Albert Diirer, when a boy. 

Both the Play and MacDonald's poem emphasize the facts that the hare, like 
nearly all wild animals, has a place, a spot, that it considers home ; that it is as con- 
scious of it when away, as a child is of its home, that it remembers it, and always goes 
back to it, as children go back to theirs. These facts brought out in the general talk 
will make the little hare tenderly interesting to children, and they will feel very 
affectionately toward it. Another fact, with its valuable lesson of making the most 
of what is at hand, and being contented with it, is that the hare builds its nest, or 
" form," according to its surroundings ; a little bower in the grass, a shelter among 
the leafy branches of a fallen tree, or in any little ferny fissure among rocks. 

In making believe it is a bunny, it is well now and then to ask the child to 
" imagine " it has long ears, simply holding its two hands up at the side of the head, 
the fingers pressed together to get the pointed shape. Again, give the child the pleas- 
ure of wearing two long wired ear-forms covered with brown tissue paper, as in the 
pictures of the Play ; or the mother can easily bend and crush ordinary paper into the 
shape of ears, tying the pair on with a ribbon. 

The Play is suited to quite young children, as the play element in it is active and 
distinctly amusing. Also, it can be successfully played with a single child. The 
little one greatly enjoys its mother's attempts to come near and capture it, also its own 
efforts to elude her, and to escape her hand by springing aside. The mother will take 
care to have it felt that she does not mean to catch the bunny by force ; she must sing 
and move in a gentle way, coaxing and persuading. Children are much amused 
whenever they take the rabbit attitude, their little hands held up and hanging help- 
lessly in front of them like the hare's paws. 

The hare is a good animal to draw. Children like.to " make it " on their little 
blackboards, on account of its ears. Where crayons and paper are used, any particularly 
successful drawing may be quietly laid away, to be hung on the wall at the next Play ; 
the mother may print under it, " Whose bunny is this ? " The children, in the pleasure 
of remembering and telling, will feel a generous impulse, instead of envy and discour- 
agement because their own pictures were not chosen. 



6o 



TheV/ild Hare 




The children in this play wear long brown lissue paper rabbit ears, made over wire and tied around the head byanbbon 



{Mother sings ;) 



NOW this, must be a bunny! 
I know it by its ears! 
Those gentle wildland creatures, 
Such timid pretty dears ! 



{Child sings :) 



O, yes, I am a bunny! 

I've seen you as you pass 
My little hidden bower 

Built in the wildland grass. 



{Mother sings, seeking to capture child i) 

Pray let me catch you, bunny ! 

O, let me, rabbit dear, 
And take you to the children — 

Nay, bunny, do not fear! 

{Child sings, springing aivay in little leaps :) 

I am a free wild bunny ! 

To catch me who shall dare 
I am no timid rabbit — 

I am a wild swift hare ! 



U2, 

Child comes out and slowly hops 
about/with little leaps and springs.. 





THE WILD HARE. 



61 



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Other'hares'come hopping down the room 
Child pauses in rabbit attitude and is 
joined by the others. 



(Mother sz'tigs, folloiving after child:") 

Nay, bunny, stop and listen, 
And tell me many things ! 

Say, is a hare's life pleasant ? 
But no — away it springs !. 

Stop, stop, and tell me, bunny, 
Where stay you w 




{Mother sings :) 



hen night 



comes r 

{Child sings :) 



O, all the great green wildland 
Is full of little homes ! 



And tell me, pretty bunnies, 
What do you have to eat ? 



{Children sing :) 



O, twig and leaf and berry 
Are bunny's bread and meat. 



{Mother sings, shuddering :) 



But oh ! the owls and foxes 
That hunt you for their prey 



{Children sing, springing (rway ') 



Then on our leaping long-legs 
We bunnies streak away ! 




Children circle room to seat* 



62 



THE WILD HARE. 



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Words by Grey Burleson. 

(Mother sings.) 



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1. Now this must be a bun - ny, I know it 

2. Pray let me catch you, bun - ny, O let me, 

(Mother sings, following child.) 

3. Nay, bun - ny, stop and lis - ten, And tell me ma - ny things ! Say, 

(Mother sings.) (Children sing.) 

4. And tell me pret - ty bun - nies, What do you have to eat ? O, 



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O, all the great, green wild- wood 

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1 




The ShephferdDog. 



SUGGESTIONS FOR PLAYING "THE SHEPHERD DOG." 

GOOD pictures of collies are to be found among photographs of paintings, notably 
those by Landseer ; but the dog himself is quite well known and seems to be 
the one best loved by little children, perhaps because the bright curly fellow 
is the most graceful and playful, affectionate and companionable of all the dogs. Read 
to the children descriptions of his feats in gathering his herds of sheep or cattle and 
taking care of them. 

The Play with exception of " The Happy Hen," is the easiest of the dozen to put 
in action and yet generally will prove to be the most popular of all. All the move- 
ments will be taken readily, for they come within the child's natural range of imitation 
and mimicry — the dog's barking being generally the one of the first outdoor animal 
sounds that the baby tries to imitate. 

The child chosen to be the " dog " always is delighted to wear the dog-collar. 
This collar may be cut out of any bright-colored paper, or it may be a broad red ribbon, 
or it may be made of red cloth, stiffened and lined and corded, set with shining gilt 
nail-heads, and with a dog's name embroidered on it ; all this will be according to the 
mother's taste and leisure. As a good shepherd dog is noted for several very fine 
qualities, which also make a human being much loved and respected, the mother may 
sometimes choose the child who has best shown these in his conduct, to wear the red 
collar ; but in a school it is generally better either to let all take their turns in per- 
sonating the trusty little guardian, or to let the children themselves each time choose 
who shall be the dog. 

The mother should sing, or recite, the first verse in tones of hearty pleasure and 
commendation, pointing to the wearer of the red collar, thus causing all the children 
to feel that cheerfulness, willingness, punctuality, responsibleness, energy and trusti- 
ness are splendid qualities. 

Much pleasure, too, will be felt by the child chosen to wear the bell and strap of the 
leader-cow. The action of the Play, as shown by the straying herd, will teach its own 
plain little lesson of the advantages of orderly conduct and of the folly of disobeying 
rules. 

Nevertheless any little waywardness natural to the cow, which the children may 
improvise in the spirit of the Play, need not be objected to, unless it produces too much 
disorder or confusion. The dog will naturally bark sometimes when a bark is not 
called for, and any particularly good imitation of barking should be praised, not at the 
time of the Play, but afterward. The cows, too, may be expected to "moo-o" now and 
then. In short, if the general order and form of the marching be regarded and pre- 
served, the play spirit may be allowed some original expression. In fact, the " mooing " 
of several voices might be made a feature of the first verse of the Play, when the herd 
is unseen, waiting to be let out to set off for the pasture. 

The natural easy ringing of the cow-bell worn by the leader-cow will probably 
■oall for some practice ; the length of strap will need to be determined by experiment. 



66 



TheShepherdDog 



(A little boy, wearing a dog-collar made of red paper, paces back and forth 
before a closed door. Whenever he hears a cow-bell outside he pricks up, 
hastens to the door and listens, giving a short bark now and again. Dur- 
ing his marching, mother or teacher sings : ) 

Behold the little Dog that works! 

The little Dog with tasks to do ! 
A cheerful, willing little Dog, 

And ever, ever trusty too. 
This little Shepherd Dog is here, 

Just like a man, at dawn of day, 
Right at his post to do his part — 

To pasture drive the cows away. 

II. 

(The cowbell is heard nearer and louder. The door opens; three chil- 
dren come in, single file, the leader wearing a strap and large cow-bell. 
They march very slowly down the room, the " dog " behind. The leader 
cow shakes the bell while they sing, and the dog barks during the last 
■ line:) 

Klmgle-klangle, clovers grow, 
Klingle-klangle, where we go ; 
Klingle-kling-kling-kling-klangle, 
Bark! bark! bark! O, the wrangle! 

(They have come to an open side-door, or a space prepared between seats. 
The cows have turned to go through. The " dog" trots around them, bark- 
ing, and heads them off. He guards the spot, barking, until the cows start 
on again in orderly single file.) 







~< 



THE SHEPHERD DOG. 



67 



III. 



(The marching movements are indicated by the words which the teacher 
or mother sings:) 



Along the shady country road 

They slowly klinging-klanging go; 
By lanes, by gates, they pause and turn, 

But peaceful pass; for well they know 
The little Dog is lord of all, Miu» <t "t '^ 

And if they will, or will they not, 
He still will take them, step by step, 

And leave them in the pasture-lot. 

(Another little boy, wearing a hat, is waiting at a door, and lets them 
through into the " pasture." The " dog " starts back home with a frolic- 
some toss of his head, a gay leap, and a series of sharp, short, joyful barks, 
as if conscious of duty done.) 

IV. 

(The "dog" starts again for pasture. The "pasture" door is opened by 
the hoy. The "cows" appear, to return home. "Dog" and "cows" 
strike in with barks and klingle-klangles at the right places while mother or 
teacher sings:) 

He's here to go again at night, 

This little guardian of the herd ; 
He starts off like the sunbeam's flash 

When "Bring the cows, sir!" is the word. 
Ah, hark ! that was his homeward bark ! 

Hark! klingle-klangle, coming home; 
And klingle-klangle drawing near ; 

Then klingle-klang! the cows have come 



(Teacher opens the first door, and " dog " and " cows " pass through.) 

Grey Burleson- 




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68 



THE SHEPHERD DOG. 



Words by Grey Bueleson. 




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1. Be - hold the lit - tie 

2. Klin- gle- Man - gle, 

3. A - long the sha - dy 

4. He's here to go a - 



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Music by F. E. Saville. 



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Dog that works, The lit - tie Dog with tasks to do ! A 
clo -vers grow, Klin -gle- Man -gle, where we go ; 

coun- try road, They slow- ly Min.g-ing Mang-ing go ; By 

gain at night, This lit - tie guardian of the herd ; He 



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cheer-ful, wil - iing lit - tie Dog, And ev - er, ev - er 
Klin- gle- Man - gle, Ming-Ming-Man -gle, Klin -gle! O, the 
lanes, by gates, they pause and turn, But peace - f ul pass ; for 
starts off like the sunbeam's flash, When " Bring the cows, sir," 

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lit - tie Shepherd Dog is here, Just like a man, at dawn of day, 

Klin-gle - Man- gle, clo - vers grow, Klin - gle - Man - gle, where we go ; 

lit - tie Dog is lord of all, And if they will, or will they not, 

hark ! that was his home-ward ' bark, Hark ! Mingle - Man - gle, com - ing home ; 



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Right at his post to do his part — To pas - ture drive the cows a - way. 
Klin- gle - Man -gle, Bark ! bark! bark! bark ! Klin-gle - Man - gle where we go. 
He still will take them step by step, And leave them in the pas - ture lot. 
Klin - gle - Man - gle, draw - ing near ; Then Min - gle - Mang ! the cows have come. 



1 



I 



Thewibins 




SUGGESTIONS FOR PLAYING "THE ROBINS." 

4 4 r T" , HE Robins" always proves a good Play to choose for a dull day, or for a 
stormy one, because of its cheery spirit. It takes in just as many children as 
can march about, comfortably, in the play-room. It is a pretty thing to do 
to have all the players wear a broad red ribbon around the neck, the two ends com- 
ing down to pin at the waist, each child thus becoming a real " robin-redbreast." 
Should there be but the little home-children to play, the mother who has plenty of 
time at her command may make some close little black caps for them to wear ; and 
if in addition they wear little brownish suits, they will be a very bright robin-like 
company. Even a tiny red bow to wear in the kindergarten on " robin-day" will give 
the robin-feeling and create a robin-flock, — such is the power of the little redbreast 
touch upon the imagination. 

The mother or teacher, in singing her verses, should utter the " 0, hark ! " with 
such a gesture, look, and tone, as will create great expectancy of hearing a bird ; in 
that case the " robins " are sure to sing their very best. 

Whenever she hears a real robin singing, the mother should tell the children to 
listen and notice the similarity of its notes to the refrain in the Play, and encourage 
them to practice to the robin's own song until they reach the bright, clear tones of the 
real bird's music. 

After the nest-building movements have become familiar, so that the motions are 
made gracefully, the children may separate and skip away here and there, as though 
seeking good places to build in, returning in good order. The verse and chorus may 
be repeated once or twice to afford time for this form of the march. 

Children should take notice of the many funny movements of the real robin when- 
ever they see him walking, so that when marching for the fourth verse they can imi- 
tate him. 

For the fifth verse a very pretty movement can be had if the children and mother 
will all look upward, as to a tree, waving the right hand upward toward it ; at the same 
time the mother-bird is to fly along in the direction of the imaginary tree, waving both 
arms as if they were wings, at last lifting them to make the " hovering" motion. In 
this fifth verse " 0, see ! " may be substituted for " 0, hark ! " especially if the little 
concerted movement suggested here is carried out. 

The cheerful refrain of the Play will not be confined to the playing or to the play- 
room. The influence of the Play is such that the hopeful strain .is certain to be heard 
through the house at unexpected times, the sign of a sunny feeling, and it will create 
the same sunny feeling in others. The mother will do well to recognize the singing, 
perhaps with her own strain, as in the Play, " O, hark ! that was a robin ! " It gives 
children great gladness to feel that "mother" is one with themselves. 

Encourage the children to try to draw the bird on their little blackboards from 
looking at the living robins, drawing them in different attitudes. Always let them 
see that you are interested in their pictures. 



7 2 



-4fThe Robins 



I. 

(A child is heard singing 1 ' Chee-ree ! Cheer-up.' 1 Looking- about, this -way 
and that, mother sings.) 

O, hark ! that was a robin ! 

I know his note of cheer ! 
I've heard the dear " first robin," 

And know that spring is here! — O, hark! 

{Child enters y singing.) - ' 

Chee-ree, cheer-up! cheer-up, chee-ree 
Cheer, cheer-you-up ! cheer-you-up ! 

II. 

{Mother sings.) 

And fast new robins follow, 

New robins every day ! 
O, hark, and hear them whistle 

Their cheerful, joyful lay ! — O, hark! 

{Children enter, singing robin re/rain.) 

III. 

{Mother sings.) 

These pretty, singing red-breasts 

Are trustful little dears; 
They come and build their dwellings 

By ours, and feel no fears. — O, hark! 

( Children sing robin refrain.) 






NET5T WEAVING. Children, while marchin ? ,press the. 

tips of the eight finders together, then separate them 
with o downward circular movement, and bring them 
tosether aeain Theactron is then reversed and repeated. 



THE ROBINS. 



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March with hops scops, sudden starts and 
runs and tippins;s of the head 



IV. 

{Mother sings.) 

They go about the garden, 
And stroll upon the grass, 

And perk their little black caps 
Up at us as they pass. — 0, hark! 

{Children sing robin refrain.) 

V. 

{Mother sings.) 

There flies a mother robin 

Up in the apple tree ! 
See ! o'er a nest she hovers 



Where her wee birdlings be. — O, hark! < ^/iMm 



{Children sing robin refrain.) 




■^mm 



VI. 

{Mother sings.) _ 

Of all the birds, dear robin, 
'Tis you are loved the best, 

Because you have, sweet robin, 
A warm heart in your breast. 

{Children sing robin refrain.) 



Child leaves otiner robins 
witK soaring lift of armv, 
cKen drooping hovering 
movements of hands. 



0, hark! 



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March with t-ob 
steps — hops and runs 
to seats. 




74 



THE ROBINS. 



Words by Grey Burleson. 
{Mother sings.) Brightly. 



Music by Kate L. Brown. 




X 



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1. O hark, was that a rob-in? I know his note of cheer, I've heard the dear "first robin," And 

2. And fast new rob-ins fol- low! New rob -ins ev' - ry day! O, hark ! and hear them whistle Their 

These pretty singing red-breasts, Are tuneful lit- tie dears ; They come and build their dwellings By 

They go a- bout the garden, And stroll up- on the grass, And perk their lit-tle black caps, Up 

There flies a mother rob - in Up in the ap- pie tree! See! o'er a nest she hovers, Where 

Of all the birds, dear rob-in, 'Tis you are loved the best, Be -cause you have, sweet robin, A 




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( Children sing Refrain.) 

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know that Spring is here! O hark! And know that Spring is here! Chee-ree, cheer-up! Cheer-up, chee- 

cheer-ful, joy - ful lay! hark! Their cheerful, joy-ful lay! Chee-ree, cheer-up! Cheer-up, chee- 

ours, and feel no fears — hark! They come and feel no fears. Chee-ree, cheer-up ! Cheer-up, chee- 

at us as they pass, hark! Up at us as they pass. Chee-ree, cheer-up! Cheer-up, chee- 

her wee bird-lings be, O hark! Where her wee birdlings be. Chee-ree, cheer-up! Cheer-up, chee- 

warm heart in your breast, O hark! A warm heart in your breast. Chee-ree, cheer-up! Cheer-up, chee- 



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reel Cheer, cheer-you-up ! Cheer, cheer-you- up! I've heard the dear " first rob - in," And know that Spring is here, 
ree! Cheer, cheer-you-up ! Cheer, cheer-you- up! O, hark ! and hear them whis -tie, Their cheer - ful, joy- ful lay. 
ree! Cheer, cheer-you-up! Cheer, cheer-you-up! They come and build their dwellings By ours, and feel no fears, 
ree! Cheer, cheer-you-up! Cheer, cheer-you-up! And perk their lit- tie blackcaps Dp at us as they pass, 
ree ! Cheer, cheer-you-up ! Cheer, cheer-you - up ! See ! o'er a nest she hov - ers, Where her wee bird -lings be. 
ree ! Cheer, cheer-you-up ! Cheer, cheer-you - up ! Be - cause you have, sweet rob - in, A warm heart in your breast. 



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''281 




Th fll&utterflies. 



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SUGGESTIONS FOR PLAYING "THE BUTTERFLIES." 

NATURALLY, "The Butterflies " is a Play for sunny days, and the wise mother 
will make the room as beautiful and summery and flowery as possible. She 
will have the central table of light blossoms, which the Play calls for, and she 
will place here and there bowls and jars of flowers, or blooming plants, to attract toward 
them the honey-loving butterflies. It is no waste of a mother's time, or a mother's 
labor, to thus set a gala hour and beautiful scene in her child's day. Dress the little 
ones, too, in prettier frocks and ribbons than usual, so that the gay tissue paper wings 
will not be out of harmony. Touch up these wings with pastel colors to show the 
" markings," taking as models any of the various handsome butterflies flying about 
out-of-doors. But such is the magic of a child's imagination that any quickly-made 
wings, plain tissue paper gathered up, and fastened on between the shoulders, or even 
a bow of wide ribbon, will be quite sufficient to create a butterfly feeling. And of 
course the Play may be played, trusting all and everything to the children's imagina- 
tion, without any of these pretty preparations. With the aid of the words and 
music, the movements and the marchings, the child will readily make believe itself a 
butterfly. 

After the first circling about the table of flowers, on their entrance, the children 
can soon be given almost entire freedom of movement, though they will at first need 
to be guided by the mother's fancy. "Now be butterflies ! " she says, " graceful, noise- 
less butterflies ! fly and float and soar, and visit all the flowers ! " She shows them 
a little, here and there, how to wind in and out, to follow one another, to meet with 
touching of hands, " weaving a dance," then falling apart to " float upon the sunny air." 
They will soon flit naturally about the room, from flower to flower, with floating arms 
and with slow graceful movements. It is, however, almost a necessity with this 
Play, that the music should be played, to inspire and to carry the pretty steps and 
motions. 

As the lines are short, and the words easy, and the tune readily learned, the chil- 
dren will have no difficulty in singing the Play. The conceited singing is very pleasing 
and effective. Recitation will hardly take its place. The song will not tire the 
children although they sing it while flitting about. 

Mother and children can have together many very interesting little readings from 
the butterfly books by Scudder and Edwards and Mrs. Ballard. The " Adventures of 
a Butterfly Hunter," by Eugene Aaron, is as good as a book of fairy tales. For the 
mother's own information, in order to recognize and name butterflies at sight from 
their markings and colorings, there is no book better than Knobel's little handbook, 
" Day Butterflies and Duskflyers." 

Tales about butterfly, caterpillar and chrysalis will interest the children and even 
the youngest can understand all, since all these forms can be shown them in nature. 
Perhaps by no other illustration can the beautiful truth of the ceaseless renewing 
and continuance of life be so satisfactorily taught to a child. 



78 



* §The Butterflies 



J\ few slight charges, such as" I am a butterfly" for first line, will fit the sons* to be suner by one 
j~\ child instead of several . The suitable changes will suqeest themselves to mother or teacher, A 
* butterfly -look may be given to the little ones by wines of tissue paper fastened between the 
shoulders. or even by broad bows of wide , eay-colored ribbon. 



WE airy Butterflies 
We come in sunny hours, „ 

J ' tups 

We fairy Butterflies 

We come when come the flowers 
We dainty Butterflies 

We feed on honey new 
At every opening flower, 

And drink of morning dew. 




Children enter sincjins? 
and circle about a table 
of flowers. 




THE BUTTERFLIES. 



79 



We hover o'er the fields 

Like flowers of the grass, 
As on our colored wings 

We pause, and poise, and pass - 
Winged flowers that rise and soar 

And weave a dance so fair, 
And float at last away 

Upon the sunny air. 



Children flit about 
«t pleasure. 



Children 
touch hands, then 
"float" airily away. 





--*»* 



We airy Butterflies 

We go with summer hours, 

fflWP^i We go when go the flowers. 
But we shall come again 




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With all the merry May, 



Ik. J" And we again shall help 

To make the great world gay! 



Circle around the 
room and away. 



8o 



THE BUTTERFLIES. 



Words by Grey Burleson. 
Gracefully. 



Music by Kate L. Brown. 



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1. We air - y But - ter - flies, 

2. We hov-er o'er the fields 

3. We air - y But - ter - flies, 



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Like flow - ers of the grass, 
We go with sum-mer hours, 



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We go when go the flow'rs. But 



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With all the rner - ry May, And 



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T k he >Goinq of 
the Swallows. 



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SUGGESTIONS FOR PLAYING "THE GOING OF THE SWALLOWS." 

THIS Play calls for as many children as can comfortably take part. They have 
four verses to sing, but they are short and easy to remember ; the youngest can 
learn both words and music readily. 

While singing or reciting her first verse, the mother or teacher should stand in the 
center of the room, and look as completely surprised and bewildered as possible, turn- 
ing herself about this way and that to follow the marchings and cross-marchings of 
the entering " swallows." 

The children in singing their reply, all turn toward her, addressing her. They 
place emphasis on the word " each " — " Each little bird." By doing this they more 
clearly understand that in the migration every bird feels the mysterious impulse to set 
off for its winter home. 

There is no point in nature-study that will appeal more strongly to the child's in- 
terest than this annual migration of birds. In the general talk about the Play, while 
learning their parts, they may be told that there is no doubt that the birds " gather to- 
gether " in order to consult, and that they understand one another ; that the journey 
is made under the care of leaders ; and that they go to the same places winter after 
winter. The children will be very curious about these facts and the mother will ex- 
plain that the leaders are always old birds that have taken the journey before ; that 
birds have powerful eyes and can distinguish objects at great distances, and that doubt- 
less the leader-birds recognize large bodies of water, mountains, and large cities, seen 
on former journeys, and steer their course by them ; that it is south they go because 
they seek a warmer climate and because the supply of insect food at the north is be- 
coming scarce. 

Sometimes, in some localities it will be possible to take the children to observe 
these annual gatherings of the swallows, as frequently the arrivals and discussions 
occupy two or three days ; sometimes the start itself may be witnessed as they often 
leave just before sunset. 

It will interest the children to know that on this annual flight the swallows form 
into a long compact body, one of the leaders a little in front, the other behind, and that 
it is said that these birds frequently change places. 

Grant's " Our Common Birds " is a valuable book for the mother to have, in 
connection with the questions which the little players of the Play will doubtless ask 
her, for it gives the time when different birds leave the north in the fall, and the 
time they may be expected back in the spring. Few birds however have an unalter- 
able, fixed date, like the nightingale in England. In any given locality, which he 
haunts, the nightingale is due on a given day each year, and before night his note, his 
" shout," is certain to be heard. 

In their last verse, which they sing going from the room, the children should 
each look back to the mother, while she waves her good-bye as they pass, one by one, 
through the doorway. 



8 4 



TTie Going of the Swallows. 

DIRECTIONS. — During the singing of the first two verses, the children enter march and countermarch srngty.dartme 
crossing and wheeling as suggested by the song. Between verses, they gratherancl sit inline as swallows sather 
on the ridge of barn roofs or on telegraph wires, previous to migratory flight Ourmg the singing of the third verse .the 
children gather in line forming a solid body, two leaders somewhat in advance During the singing of the fourth verse, the 
children. keeping close together, march around the room and out throusrh the door, the mother or teacher waving farewells- 



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( Mother or Teacher sings : ) 

HAT does disturb the Swallows? 




They come from every- 
where ! 
Criss-cross, zig-zag, and circle, 
Like bees they fill the air — 
What is it, little Swallows ? 

( Children sing ,* ) 

We have had word, 
Each little bird, 
To gather 
Together ! 



= ^8S6s& 



THE GOING OF THE SWALLOWS. 



85 



( Mother sings ; ) 



What was the word, 
O Swallows, 

That it disturbs you so, 
That all day long in trouble 

You hurry to and fro ? 
What is it, little Swallows ? 

{Children sing;) 

We have had word, 
Each little bird, 
Of blowing ! 
Of snowing ! 




( Mother sings ; ) 



Ah, 'tis the winter-warning ! 

No Swallow will delay ! 
You'll take to-night 
the long-flight, 

A thousand miles away, 
To find the sunny Southland 

( Children sing;) 

Goeth each bird, 
As it hath word, -^j£j| 
From Northland JL 
To Southland ! ( i& 







( Mother sings : ) 




Goodbye, then, little Swallows 

Safe fly you, little band ! 
A happy winter to you 
Down in 
the 

southern land ! **%^ 
But come again, dear Swallows! 

( Children sing; ) 

Yea — when each bird 
Heareth the word 
To fly forth 

And fly North ! 




86 



THE GOING OF THE SWALLOWS. 



Words by Grey Burleson. 
„ (Mother sings.) Lightly. 

L L2 1 m m 1 m- 



Music by Kate L. Brown. 

—A v i: ^ 



1. What does dis - tuib the 

2. What was the word O 

3. Ah, 'tis the win - ter 

4. Good - bye, then lit - - tie 



Swal -lows? They 
Swal - lows, That 
warn - ing, No 
Swal - lows, Safe 



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Each lit - tie bird, 


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Each lit - tie bird, 


Of 


snow - 


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blow - ins;. 


Go - eth each bird 


As it hath word, 


From 


North - 


land To 


South - land. 


Yea, when each bird 


lear-eth the word, 


To 


fly 


forth And 


fly North ! 


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